This paper traces the life and career of Boris Karloff, born William Henry Pratt in London in 1887, from his early years in Canadian theater to his iconic role as Frankenstein's Monster in Universal Pictures' 1931 film. It examines his evolution as a character actor, his rise through silent films and villain roles, and his landmark horror performances in films such as The Mummy and The Bride of Frankenstein. The paper also touches on Karloff's personal life, his humanitarian work, his Broadway career, and his legacy as one of the most recognized figures in twentieth-century cinematic horror.
"The monster was the best friend I ever had." — Boris Karloff
Boris Karloff is best known for bringing Mary Shelley's Frankenstein monster to life in the 1931 black-and-white horror film produced by Universal Studios. However, there is far more to this talented actor's life and work than one low-budget cult classic. From quiet beginnings to the title of "Master of Horror," Karloff stands as one of the most notable names in twentieth-century cinematic horror. With foreign ancestry — he claimed to be Russian but was in fact of Indian heritage — this exotic dimension to his talent created an impact on audiences worldwide, one that would keep his films alive well into the next millennium. His famous portrayal of Frankenstein's Monster would be imitated many times but never equaled, and Boris Karloff was destined to become one of the most revered figures to emerge from Hollywood.
Boris Karloff was not the given name of the famous actor. Born in London, England, his birth name was far more British than stage-friendly: William Henry Pratt, born on November 23, 1887. He was the youngest of eight children, and it was his older brothers who largely raised him, as his father died when he was an infant. Karloff's father had been a public official in India, and the family expected the boy to follow a similar path. One of his older brothers, the longest-surviving Sir John Pratt, was himself a diplomat. For his early schooling, Karloff attended Merchant Taylors' School at Uppingham, a prestigious institution. For higher education he studied Chinese customs through the Consular Service program, specializing in a field that suited diplomatic work.
By the early 1900s, Karloff had realized that the life of a diplomat was not to his taste, despite his family's expectations. The confining formal attire and constant travel proved too much. Seeking more enjoyable career opportunities than England seemed to offer, he immigrated to Canada in 1908 to start a new life. A change of career was not his only plan; at the age of twenty-one, Karloff also eloped with Olive Wilton, who would be the first of his five wives.
Karloff first attempted farming in Canada but wound up working as a truck driver and tried his hand at many forms of labor. It was not until 1910 that he fell into acting — by doing exactly that: acting. Playing the part of an experienced performer, he spun tales about a successful theatrical career back in England. Impressed by his fabricated track record, a traveling theater group hired him to play a banker in a production called The Devil. He remained with traveling companies for some time, living the tough life of a road actor across North America, playing many different parts and passing through countless cities.
Ironically, the travel and restrictive costumes that had put him off the consular path were equally unavoidable in the traveling theater world — though artistic freedom, of course, made them worthwhile. Those years of intense work gave him the skills he would need to become an acting legend. Donning heavy makeup and elaborate costumes, Karloff often portrayed characters far older than himself, and did so convincingly. He became an experienced and talented character actor, learning to convey emotion and drama even through many layers of stage makeup. It was also during these years that he changed his name from Pratt to the now-famous Boris Karloff. As he explained: "I didn't think Pratt a terribly good stage name, so I changed it to Karloff. It's a remote family name on my mother's side. It's been a very fortunate name for me. A lucky name." (Karloff in Jones)
When World War I began, Karloff attempted to enlist in the British Army but was rejected due to a heart murmur. He continued acting, and fate eventually brought him to Los Angeles. When his acting company disbanded there, he once again drove trucks for a living. It was during this period that he met Lon Chaney, the king of silent-era horror films, who introduced him to the world of motion pictures — though the two were never to appear in a film together.
In 1919, Karloff appeared as an extra in His Majesty, the American, released by United Artists. His screen time lasted under two minutes, and a series of similarly small roles followed before he earned a featured part as a Canadian villain in The Deadlier Sex in 1920. Over the following years, he landed a number of not-quite-starring roles as bandits, crooks, and pirates. His one non-villainous character appeared in Omar the Tentmaker in 1922, but he soon returned to villain work in films including Dynamite Dan, Parisian Nights, and Forbidden Cargo. Karloff embraced this typecasting. "When I first started acting on the stage, I liked 'heavy' roles, and later in pictures I always sought them." (Karloff in Jones) He was grateful that audiences and studios alike had recognized and appreciated his talent for such parts. Films of particular note from this period include The Bells in 1926 and Tarzan and the Golden Lion in 1927.
With the advent of talking pictures, Karloff's career suffered a setback. It was not until Unholy Night in 1929 that he received a speaking role, playing a Hindu servant — an appearance that went largely unnoticed. Between 1930 and 1931 he had more obscure roles in The Sea Bat, Cracked Nuts, and other minor productions. Then, in 1931, everything changed when Universal Pictures decided to adapt Mary Shelley's novel Frankenstein for the screen.
Bela Lugosi, fresh from his success in Dracula, reportedly refused the role of Frankenstein's Monster — some accounts say because the part had no dialogue. Whether it was Lugosi who recommended Karloff or a studio executive who remembered his earlier work as a convict on screen, the role ultimately went to Karloff. Carl Laemmle, head of Universal Studios, credited Karloff's eyes with winning him the part: "They mirrored the sufferings of the poor dumb creature, in contrast to his frightful appearance and hideous strength." (Laemmle in Jones)
Karloff himself understood the unique challenge of the performance: "A fascinating job — he had no speech and hardly any intelligence, yet you had to convey a tragic part.... All my letters from young people invariably expressed great compassion for the monster I played. I played it as a poor, helpless, inarticulate thing which was a victim of circumstances. They understood that, somehow." (Karloff in Jones)
This film is the landmark most people identify as the true beginning of Karloff's career, and it remains the role for which he is best remembered. Even later successes, such as The Mummy, were marketed as starring "Boris Karloff of Frankenstein fame." Karloff was so identified with the Monster that, after filming, he kept the prosthetic pieces that gave the character his signature look, referring to the Monster as his best friend throughout his life.
"The Mummy, The Raven, and later horror films"
"Family, charity, Broadway, television, and death"
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